I've written a lot over the last few years about the importance of creating unique promotions. The one question that comes up most often relates to the challenge of finding the time and the budget to develop strong campaigns.  

I'm a huge fan of partnerships with other companies. It's one of the best ways to reduce your costs but increase your reach. You're sharing the workload, and in many cases creating unique offers. Plus, there's an additional benefit: Great partners become ambassadors for each other.

There's always somebody who's thinking, "Yeah, but there's nobody who's a logical partner for my specialty!" Every photographic specialty has potential promotional partners.

Here's a list to get you started:

Boudoir Photographers: Get together with a lingerie boutique and a spa, makeup artist or salon. Also, because a beautiful boudoir image is very often intended to be a gift with a little romance attached, an intimate restaurant in your community might be a great partner as well.

Pet Photographers: Find out who the rep is for some of the big brand pet foods by talking with the manager at your local supermarket or pet shop. You've also got animal shelters, pet boutiques, and veterinarians. Don't forget doggy daycare facilities as well.

Children's Photographers: Toy stores, summer camps, playgrounds, kids clothing boutiques and restaurants all geared towards kids make great partners. You might even find a pediatrician or pediatric dentist interested in getting involved with something creative.

Family Photographers: You're looking for any company that targets families. Family restaurants, decorators, parks and special events targeting families all have potential. Years ago on a Hasselblad program in Cleveland, a photographer told me about a landscaper who built him a backyard shooting area in exchange for promoting their services. The logic being, anybody who was paying for a family sitting, more than likely had an interest/need in landscaping.

Commercial Photographers: This one's a little tougher, but think about what a client is looking for. This doesn't work if you're targeting Fortune 500 companies, but a program to target small business owners in a community could tie in a local magazine/publication, a printer and a courier service for example. The promotional offer might target people who need a new headshot.

Wedding Photographers: Wedding shooters are always the easiest, just because there are so many different business entities involved. Florists, wedding planners, bakeries, salons, bridal shops, limo companies, musicians, tux shops, travel agents, venues, and the list goes on and on.

Last on the list for every specialty - don't forget other photographers! There's only so much time in a week for you to shoot. Bringing in competitors who compliment your style helps build strength and brand recognition in the category. Sooner or later you're going to send another photographer a referral - why not build the relationship now?

Once you've identified some logical partners, here are the action steps that come next:

1) Personally, I love promotions with three partners.  If you get too many, you lose impact, and your message becomes too diluted. Too many partners and your offer/mailing is going to look like a NASCAR event.

2) Contact each potential partner with a personal visit. You share a common target audience, and the concept of saving money to promote each other's services is a logical connection.

3) Get your two partners together for lunch. I'm a huge fan of lunch meetings because over a meal you're always guaranteed a certain level of conversation. This is about building a relationship in addition to the promotional idea itself.

4) You've got a wide variety of programs to collaborate on. You might agree to sponsor an event together; do a mailing and share the costs; cross-promote each other's products/services or share the cost of advertising. The point is, you've all got the same goal - expanding your reach, and you're each targeting the same audience.

5) Remember, from a cost standpoint, everything you do is going to be split three ways. That gives you the ability to reduce your cost, but promote your business more frequently, and to a larger audience.

6) And, at the risk of making this post sound like an infomercial - check out Marathon Press. Direct mail has come full circle, and it's back with a vengeance. Here's your chance to develop an oversized postcard tying in the three partners and getting through the noise to your target audience. I've worked with the crew at Marathon for years, and they can help you through every step of the process to produce a mailer you'll be proud of. 

In a blog post, it's impossible to cover every aspect of putting together a strong promotion. But, I'm hoping this at least plants the seed for you to think about doing things together with other companies. You don't have to go it alone every time, and a good partnership is invaluable to building a stronger business.

​I started this series to give you small doses of things you can do to fine-tune your business and help make 2018 your best year in business yet!  My Friday "specials" are in no particular order, but have been topics that popped into my head sometime during the week usually as a question from a photographer or thread in a Facebook forum. 

Whether your business is up or down this year, we're into the busy season, and it will continue through the end of the year.  You have to pay attention to the trends, your audience and all the vehicles at your fingertips to help expand your reach. Thanks to social media, you have the same reach today that only small newspapers and magazines had a decade ago.

This is number 15 in the series, and we're hitting on one of the most serious topics - pricing. There's no better place to start than with the Master himself, Sal Cincotta. This video is at least seven years old, but Sal's focus is entirely relevant, especially in today's competitive market. However, regarding building a stronger revenue stream, I expanded on the topic with more ideas to help you raise the bar on the products/services you're selling.

​One of the biggest challenges is being competitive WITHOUT discounting. It starts with the quality of your work and finishes with exceeding customer expectations. Your goal is to make yourself habit-forming and you can do it without getting into a pricing war in your market, which turns your work into a commodity!

​Sal hits on it in the very beginning talking about nothing being more destructive to your business than lousy pricing and discounting is all part of that challenge. I know we live in a SALE driven society, but there are ways to add value to a promotion that doesn't require you to turn your business into a battle with your competitors.

• Packages: Sal talks about different packages. Package pricing is perfect to allow you to put together various components for a limited time promotion.
• Talk to your lab: There's so much going on today, and you might want to add a canvas or metal print to the mix. Ask your lab a simple question, "What's new?"
• Be a full service photographer: Michele Celentano has made herself a "full service" photographer. She helps the client decide on the size of the portrait, the frame and then she shows up when it's ready, complete with hammer, level, and picture hooks! Nothing is preventing you from also becoming "full service."
• Extended coverage: As wedding photographers, you can create added value with extended hours of coverage or an expanded engagement session.
• Contact with your album company: There are so many add-on products to enhance the core album.
• Are you offering hybrid solutions?  Slideshows are back with a vengeance, especially when you can combine still images with video and great music. Offer your clients a unique product and expand your reputation as a storyteller. And, Photodex could not make it easier for you to do! 
• Holiday cards, invitations and virtually anything you can do with an image become a fun promotional addition to your mix of products. And don't forget framed prints, but you have to show them on your site and in your studio to plant the seed. 
• Look for ways to cross-promote with other vendors. Get together with the limo company, florist, caterer, etc. and find unique ways to promote each other's products.

Last but not least, you've got to do a better than average job of getting the client to understand what an album is, especially in the wedding category:

A wedding album is the first family heirloom of a new family. It captures memories that years later are long forgotten and answers the question to an inquisitive granddaughter who asks, "Grandma, what did you look like when you and Papa got married?"

Intro by Skip Cohen

Last week at Photoshop World I was invited to join Scott Bourne and the team from Skylum for dinner. It was a terrific meal, but we could have been anywhere - the fun of the evening was being with friends, both old and new and the mutual passion for the industry we all share.

Going through the SCU archives recently, I started thinking about how many different projects Scott and I have worked on together, including our book GoingPro and the SCU blog and website. There's a great friendship here, but an even more effective duo when we're focused on any mutual business goal.

Well, I found this post going back five years ago and there isn't a single thing I'd change to make it more contemporary. In fact, I consider it one of the very best posts Scott has ever shared. It's perfect for Marketing Monday and trust me on this advice - take the time to read it!

by Scott Bourne

Zig Ziglar always used to say:

                “Sales is not something you do TO someone. It’s something you do FOR someone.”

Zig honestly believed in his heart, when we as salespeople (and if you’re a professional photographer - don’t kid yourself, you are (or need to be) a salesperson) were doing important work, folks sometimes needed a little push to get to yes. He knew in the end they’d be happy with what they bought. 

I have studied that man’s thinking for 35 years and today I want to write a post about the thankful salesperson. It’s my homage to Zig. It’s also my second - to - the last post here at SCU and I want it to be a good one.

Now you may be wondering - “How the heck does being thankful connect to sales?” It’s a good question and my goal today is to answer it. 

You see I believe if your heart is in the right place, i.e. you put your prospects’ needs ahead of your own and you sincerely believe in what you are selling, you can and should be thankful for the opportunity. Come on - how many people get to do a job where they are really helping people? It’s a great honor to be a high priest of memory protection. So with a hat tip to John Paul Caponigro (who turned me on to some of these quotes) here are some ways to be inspired enough to be a thankful salesperson.

Albert Schweitzer said: 

"At times our own light goes out and is rekindled by a spark from another person. Each of us has cause to think with deep gratitude of those who have lighted the flame within us.” 

For me, this has happened many times. And for some reason, when it DOES happen, it’s related to photography. I remember selling one of my first weddings. For some strange reason the bride’s mother really liked me. She said they moved their daughter’s wedding date so they could save up to hire ME to shoot the wedding. That spark in her - that happiness that she was going to have someone she believed in shoot her wedding left me very excited. My flame was indeed lit and I think I did a pretty darn good job at that wedding.

Shakti Gawain said: 

“Whatever our individual troubles and challenges may be, it’s important to pause every now and then to appreciate all that we have, on every level. We need to literally ‘count our blessings,’ give thanks for them, allow ourselves to enjoy them, and relish the experience of prosperity we already have.”

I hear many photographers lament the fact that they don’t have the best gear or that they wish they had the money for an assistant or a better studio or whatever. Gawain’s quote served as a reminder to me that some of us go through life missing out on the best stuff because we think we need something else. Yet the best “stuff” is only the “best” if it helps us achieve some human connection.

When you make a portrait of someone and they place it on their mantle, for generations to come to see and enjoy, NOBODY is going to wonder whether you had the best camera that was available that day or what version of software you used or whether or not the equipment van you drive is the latest model. All they will note is the fine expression on their loved one and the memories THEY have of that subject. That’s plenty of motivation for me to be thankful for what I have and not worry about what I don’t.

None other than Albert Einstein said: 

“There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle.” 

I can’t tell you how much this resonates with me. I’ve been around the world with my camera. I’ve been toe-to-toe with Arctic Wolves, Coastal Brown Bears, Moose and Great American Bald Eagles. I’ve been mere inches from a wolf pup, a mountain lion cub and baby black bear. I’ve met and photographed famous rock stars, movie stars, politicians, race car drivers, beauty queens and plenty of spectacular regular “Joes.” And if you’d have asked me as a boy if I thought I’d have that kind of life, I would have said “Hell no.” I am the least among you yet I’ve been allowed to have all these experiences because of my camera. What a miracle. If you’re looking for miracles - take this approach to selling. It works.

Oprah Winfrey said: 

“What you focus on expands, and when you focus on the goodness in your life, you create more of it. Opportunities, relationships, even money flowed my way when I learned to be grateful no matter what happened in my life.”

I’m not proud of every decision I’ve made. I didn’t always have it “good.” My parents beat me, (I probably deserved it,) I made lots of bad decisions as a young man, I’ve suffered serious health problems, I’ve crashed every kind of motorcycle and race car you can think of, and there’s been plenty of bad. Oprah’s quote reminded me that through it all, you have to take it all in - the good and the bad - to be a great storyteller. You have to learn to be grateful for night to understand the beauty of daylight. When you can do that, your photography will absolutely, positively improve. Her quote led me to translate what she’s saying from a photographer’s point of view. Light illuminates - shadows define. Focus on the good things you can do with your photography and I am certain that you will find happiness and the business success that goes with it.

Denis Waitley said:

“Happiness cannot be traveled to, owned, earned, worn or consumed. Happiness is the spiritual experience of living every minute with love, grace and gratitude.” 

Believe it or not, I have come to learn that photography, practiced at its highest levels, is a very spiritual pursuit. I am not talking about religion. I am talking about spirituality. There is a difference. Recognizing that the real reward of being lucky enough to be a professional photographer is the joy of knowing that you are protecting memories for others and those memories will last lifetimes. That transcends owning the coolest camera or the coolest anything. It’s a payday that the tax man can’t touch. It’s more valuable than money. But here’s the rub. If you are truly happy. I mean really, truly happy, then what ends up happening is that your sales skills increase. People want to do business with you more than ever. The money flows, not because you sought it. But because you did not. Master sales people are happy at their core. They are happy because they know the thing they are selling improves people’s lives. That knowledge is power and that power leads back to more happiness and more success. It’s a perfect circle. I hope you can find it.

I hope this lesson reaches some of you. I am grateful just to have the opportunity to share it with you because it has powerfully impacted my life. 

Go out there and be thankful that you get to do this job. That you get to use your cameras to protect memories. 

As always Skip and I are rooting for you.
​

​I started blogging in 2009, and thanks to help from several very good friends we launched SCU in 2013. The blog has grown, but sadly so has my list of frustrations. While some of you are focused on the ingredients to build a successful business, there are some of you who still don't get it. 

Today I was reading through some of the posts on Facebook, and it was all I could do not to get involved in some of the discussions. I stayed clear, but it's obvious somewhere along life's path a bunch of people took wrong turns.

This is a back to basics kind of time in business when a hand-written thank you note is going to carry more weight than a new design for your home page. It's a time when sincerity tops technology and fulfilling a promise will be talked about long after that new lens you just bought. 

While many of you are motivated, passionate and doing everything you can to build your business, new relationships and your skill set, here are some of the knuckleheads who put me in rant mode:
​

• Photographers who jump all over somebody because they don't like the photo they posted, but their writing is so weak, they can't criticize the image without sounding like Billy Bob Thornton in Sling Blade.  
• They preach about SEO, but their website is difficult to navigate, and their images haven't been updated in years.   
• They know how to focus their camera, but they haven't taken the time to focus on a marketing plan. They blame the competition for their business problems but do nothing to get people to know who they are.
• They've worked hard to have a great website, but they don't return phone calls quickly to their clients. In fact, their phone number isn't anywhere on their site.  
• They built a blog, but their heart just hasn't been into it lately, and the last post they wrote was back in December.
• They're always thinking about ways to reach new clients, but they make no eye contact when they're talking to somebody, and their handshake is flimsy. And, they've done nothing to nurture and build relationships with their past customers.
• They text at the speed of light, but they have a tough time carrying on a conversation.
• They're so proud of the thousand images in their galleries, but less than a hundred are better than Uncle Harry's.
• And they're arrogant, putting everybody down who doesn't think the way they do!

If these sound like anybody you know, let's all chip in and get them some professional help. 

The photographic industry is made up of some incredibly talented artists, and just like all those old westerns I watched as a kid, there's always going to be a faster gun. There's always going to be somebody out there pushing the edge of the envelope. These exceptional artists have a passion that drives them and a desire to shoot in a way nobody else would, and they keep many of us motivated by their creativity.

I found a great quote that seems to fit this post and since my grandfather was the one who taught me about a firm handshake and eye contact:

"My grandfather once told me that there are two kinds of people: those who work and those who take the credit. 
He told me to try to be in the first group; there was less competition there." 
​Indira Gandhi
​

Intro by Skip Cohen

Building a strong, consistent reputation for excellent customer service is one of the very best marketing tools you have, but it doesn't happen by accident. Yes, there's a degree of common sense involved, but you have to see the world through your client's eyes and pay attention to each relationship.

I met Shep Hyken in cyberspace. Chamira Young and I had him as a guest on the "Mind Your Own Business" podcast, and later I was a guest on his podcast. Shep is all about helping business owners build a strong customer service presence.  Find out how you can sign up for his free newsletter by clicking on the banner above. 

​In the meantime, I love this gem he shared yesterday!

The other day a buddy shared an experience he had with a company that sold him mulch for his yard. When the truck arrived, he asked the driver and his co-worker to put the mulch in the backyard. The driver said, “I’m sorry. Dropping the mulch off in the backyard is considered white-glove service. You needed to let us you wanted the mulch in the backyard when you ordered it.” In this case, sorry had a double meaning. Maybe the driver was saying he was sorry to apologize, and at the same time, he was also saying, “Too bad. Pay more money if you want the mulch delivered an extra 50 feet to the back of the house.”

I had a similar “I’m sorry” experience when I went to check out at a hotel. There was a $35 resort charge that I didn’t know about. I was there for three days, so that added up to over $100. I asked the front desk clerk what I got for that $100. She said, “Free internet, access to the workout room and a newspaper.” Hmm… most hotels I stay at don’t charge for any of these amenities. And, she added, almost ashamed, “I’m sorry. They should have informed you about the resort fee when you made your reservation. Once again, the word sorry was more of a “Too bad,” than an apology.

Lesson One: The words we use are important. And, if we use a phrase like “I’m sorry,” what comes after that needs to be part of the apology versus a “too bad” type of explanation. Even if it is “too bad,” the way you say it can include some empathy and caring that makes the customer know you feel their disappointment.

Lesson Two: The surprise resort fee wasn’t a big deal to pay. Yet, at the heart of the issue is that I felt the hotel was “nickel and diming” me. So, I asked the front-desk clerk to do me a favor. I told her that I wasn’t mad at her about the resort charge. It wasn’t her fault, and she was just the bearer of the bad news explanation. She immediately seemed to relax. Then, I told her what I did for a living, and asked if she would share how she felt about this situation. She told me that almost every day several guests complain about the resort fee, and she feels she has to defend it, and that makes her feel uncomfortable.

When you know that your customers are regularly disappointed with a part of your process, figure out a way to eliminate that disappointment. In the case of the resort fee, it seems simple. It’s fine to charge it, so when the guest makes a reservation, if it’s online the fee should be made clear and be included on the confirmation receipt. If the reservation is made over the phone, inform the guest, and in the process, “sell” the benefits of that fee. For example, the reservationist could say, “Make sure you take advantage of the workout room. It’s more like a spa with the latest equipment. It’s part of your resort fee. You’ll love it.” Then, at check-in, go over the room rate and resort fee and “sell” it again. Make it a benefit, not an ugly surprise at the end of the trip. Isn’t that so much better than having to say, “I’m sorry!”

There are many ways we can turn negatives into positives. There are many words we can use to show our customers we care. The powerful words, “I’m sorry,” shouldn’t be abused. They shouldn’t be part of a too bad explanation. They should convey empathy, care and concern. And, if you have to utter those two powerful words more often than you should, figure out why, and do something about it!
​
Shep Hyken is a customer service expert, keynote speaker, and New York Times bestselling business author. For information, contact 314-692-2200 or www.hyken.com. For information on The Customer Focus™ customer service training programs, go to www.thecustomerfocus.com. Follow on Twitter: @Hyken
(Copyright © MMXVIII, Shep Hyken)

​The second comparison is the one on price, there may be two very similar restaurants in the area, but one is twice as expensive as the other. So would many of us go to the high end restaurant and state that the other one is similar and much cheaper and then ask for a price match? The response you would get to that is "NO, just book the other restaurant!" 

Pleading that you really want to eat there isn’t going to help either. If you really want to eat at the top restaurant you have to pay the asking price. It's as simple as that. It’s exactly the same for us; if a customer is working this angle tell them to use the other photographer. Keep that line throughout all discussions, if they really, really want you they’ll pay what you ask. If the higher end restaurant isn’t busy then they have priced themselves out of the market. Again, the same goes for us.

None of the above logic prevents you from running promotions, agreeing bespoke packages with customers and most importantly good old customer service. Once we start to let customers treat us like a commodity we’re on dangerous ground. Sometimes we may let a customer dictate to us because they are well connected. The issue then is that any referrals coming from that contact will expect the same.

Remember most head chefs cook because they love cooking but they would never consider being dictated to by the customer. Most photographers love what they do first and foremost, but maybe we should all behave a little more like a head chef!

I started Fast Food Fridays after taking a scroll through the SCU archives.  Seeing how much content has been generated on topics to help you build a stronger business over the last five years, it made sense to do something a little more concise.   

Knowing how so many of you are artists who hate to focus on the operational side of your business, I decided to break your business down into small doses of fixable challenges. Well, here we are with the sixth installment, hitting another easy to fix component of your business.
  
While your website is about what you sell, and your blog is about what's in your heart, with many of you it's hard to tell the difference, especially when it comes to the logistics of your website.  For example, why make it hard for people to contact you? If they love your work, then stop making them jump through hoops to get more information.

On the menu for today is your contact page. There's no such thing as giving people too much information when they're excited and want to reach you!

​I'm not against contact pages, just the limits so many of you put on them! Think about the last time you wanted to contact any company and how good it felt when you could communicate with a live body. Knowing that, then why limit contact to just a template form? We live in a robotic-default-choice world when it comes to communication, and here's a chance to put yourself ahead of most of your competitors.

I completely understand if you don't want to put an address down if you work out of your home, but give people a phone number to call and an email address, if they'd like to write to you directly.  Then, give them the third option of filling out an online response form.

If you're going to use a template form, then let's keep it short. Some of you have decided to sneak in a survey and ask for everything from "How did you hear about us?" to requests to fast for 12 hours before submitting a blood test! Yes, I'm exaggerating a little, but just use the contact form to make contact. Personally, I would keep the form as simple as possible and save more detailed questions once you talk with the client.

Years ago a good buddy of mine passed away unexpectedly, and a bunch of us took to the phones. One well-known professional photographer had moved, and we gave up trying to contact him before the funeral. There was no phone number on his site and no new address.  

Months later I saw him at a convention and mentioned how we couldn't find him because there was no number on his site. His response still blows me away,

                                            "I don't want people calling me! I haven't got time for phone calls!"

There's not one ounce of embellishment in this story. He really just wanted contact via email.  For the rest of you though, how great would it be to have your website so fantastic that your phone rang non-stop?  Give people a phone number and if you want to impress them even more, your cell number as well. Then give them your email address.

It's a straightforward lesson to remember and one that your grandmother probably taught you years ago - treat people the way you'd like to be treated. It's so easy to be accessible!

Intro by Skip Cohen

My good buddy Scott Bourne wrote this for the launch of SCU four years ago. Reading through it this morning, it couldn't be more valid. Although a piece of Scott's approach in this post is more commercial/fine art in nature, the foundation for pricing is the same. I wish I could get every photographer to read this, regardless of their specialty.

It's time for so many of you to stop waiting for the "Profit Fairy" to sprinkle her magic dust on your business. The truth is, improving profitability is relatively easy, but you have to take the time to think it through, starting with your goals.

Pricing is the "Achille's Heel" for so many of you. You price things based on what you think they're worth without any regard to your actual costs. To paraphrase something Sal Cincotta once said,
                
                                                   "Nothing can screw up your business more than bad pricing!"

And here's one more gem from an industry leader. Denis Reggie made this comment in a workshop at least twenty years ago, and I never forgot it:

                        "Don't price your work on what you can afford. It was years before I could afford myself!"

It's a new year and in 2017 let's get your business on the right track and start paying attention to pricing and your bottom line. Your top line (gross sales) is meaningless because it's not how much you make, but how much you keep. And, unless your goal is to become a formal 501c3 non-profit, making money isn't something to be ashamed about.

This is the first business day of the new year, and for many of you, it's still part of the holiday weekend. Take the time to think about your business and the importance of profitability. Let's get you out of macaroni & cheese every night and into a steak now and then!

By Scott Bourne

Pricing photography is the second hardest thing you will ever do as a professional photographer. (Finding the right clients is the first hardest.) It’s very easy to make mistakes when pricing and once they’re made, it’s hard to recover from them. So start out right.

One disclaimer: Not every pricing method works for every photographer. Much depends on the current state of the market and the genre (i.e., wedding, commercial, fine art, food, etc.) I’ll try to stick to some universal ideas in these posts.

Start at the Beginning: You can’t effectively price your work until you understand what it is you’re selling.

You are not selling square inches of paper for the cost of printing them. For some reason, the first element that seems to enter some photographers’ minds when making a pricing decision is the size of the print. This “brick wall” has cost many photographers money. The most important thing to keep in mind is the value of your work, not the size of the print. You build this value by evaluating ALL the factors that go into making a salable image.

So what are you selling? How about your creativity and unique ability to capture something that others do not see? Anyone can buy a camera, but can they capture the image exactly the way you do? How about the time you have invested in training for the moment when you captured the image? That time needs to be taken into consideration. Your mechanic, doctor, accountant, and lawyer all get paid for the time they spend doing the work. Shouldn’t you be paid too? You also have to consider the level of your present technical ability. The casual amateur should not be able to get the most out of the same equipment as an experienced professional. And speaking of equipment, you must also take into consideration the value of your gear. So, as you are deciding how to price your work, make sure you take into account and charge for your logistical skills, experience, time and your ability to translate your client’s desires into a visual statement.

Know what you’re selling before you try to sell it. This will help you avoid many mistakes later.

Pricing Economics: In order to price something well, you must know the economics. Here are some key things to keep in mind:

A) Overhead
B) Profit margin
C) The market you are serving

Calculating your overhead requires that you consider all the costs that are associated with being a professional photographer.  This includes:

A) Equipment depreciation
B) Insurance
C) Rent
D) Licenses
E) Legal fees
F) Accounting fees
G) Payroll fees
H) Salaries
U) Taxes
J) Utilities
K) Production
L) Repairs
M) Printing
N) Postage
O) Office supplies
P) Subscriptions
Q) Professional dues
R) Advertising/marketing
S) Transportation/shipping
T) Travel

Calculating your profit may be a bit easier. You consider your cost of doing business by allowing for a percentage of your overhead to be applied to the cost of each job. From there, mark up your price to include a standard profit margin. This can be based on any number you want but a good starting point is to double the cost of your product (100 percent profit margin).

Now you also need to adjust this figure based on the market type you are serving. Is the image being used in a small or large market? Will thousands of people see it or just a few? What is the perceived value to the client? How does the client plan to use your image? Who is your competition and what choices does your client have besides you for this type of image? Are there 50 photographers in the mix or only two or three? Consider these factors to calculate your fee.

When you sell or license an image, it is likely that you will have to negotiate the price with a savvy photo buyer. Knowing how to negotiate can save you time, money and help you close profitable deals. Remember that negotiating is just problem solving. Both parties have something they need to accomplish and the negotiation makes it happen.

You must not take ANY of the issues that arise during a negotiation personally. The buyer is supposed to try to get the best deal that he or she can. That’s their job. Your job is the same.

The essential steps in the negotiating process are: establish rapport, gather information, do research, ask questions, and let the buyer do most of the talking. In any negotiation, the person who listens most is likely to gain more. In any negotiation, it’s always very important that you do more listening than talking. Otherwise, you will miss important clues, both physical and verbal, that will help you resolve the deal.

Before quoting a price, you must try to educate the client and build the value of the image you are selling. Make sure that the client understands the effort, time and expense you invested to make this image. If the image is truly one-of-a-kind or was made at personal risk, those factors translate directly into the value of what you have for sale.

Try to encourage the client to place an opening bid. If the buyer is the first one to name a price, I believe you will be rewarded with a higher fee. A good way to open the negotiation process is to ask a question like, “What’s the most you would be willing to pay to use my image or purchase my print?” If you are forced to begin the negotiation process by offering a figure, an alternative is to begin with a number that is twice your standard price plus 10 percent. Once this figure is given, you can work down from there.

But remember, if you give a number first, you run the risk of quoting a price that is much lower than the buyer was willing to pay, and you’ll never know what figure they were willing to pay. So, let your clients do the talking. Then, you should listen, take notes, and preferably wait for them to tell you what they can afford.

If the client has pricing objections, be sure to return to the rapport building and value enhancement stages outlined above. Usually, a price objection really means that there is another piece of information you have not uncovered.  It is likely that there is something else you have not offered that the client really wants or needs. This is why it’s crucial to listen more than you talk and ask plenty of questions to uncover hidden needs.

Once you have taken all the necessary steps, be sure to ask for the order. A surprising number of photographic sales don’t happen simply because the seller has forgotten to ask for the sale.

(NOTE: Negotiating with magazines is not possible unless you are a famous photographer with images that are in great demand. When you approach magazines, understand that you will only get paid their standard rates.)

by Skip Cohen

I wrote a post on a similar topic several years ago, but I've meet so many artists online recently and I'm amazed at the different perceptions they have of their business. With the first quarter trade show and convention season just around the corner, I'll be meeting more in person and I know I'll continue to be surprised at the different levels of enthusiam with each artist I meet.
 
I found a terrific quote a few years ago that Martina Navratilova is given credit for:

 "The difference between involvement and commitment is like ham and eggs.
The chicken is involved; the pig is committed!"

Running across that quote recently, it got me thinking about our industry, because we've got too many people who are involved, rather than committed.  Photography is an art form, not just in the capture and creation of the final image, but in the relationship each artist has with their clients and the passion for the craft.

An involved photographer gets the job done, has a goal to at best be average and spends too much time looking at the revenue stream.

Committed photographers can't stop thinking about their images. While they're obviously concerned about revenue, they're more concerned about creating an experience for each client. They're looking for ways to give back to the community. Their hearts skip a beat when they download images from a portrait sitting, commercial shoot or an event. They spend more time listening to their clients than they do talking to them.
 
If you're a regular reader here at SCU you're more than likely committed, rather than just involved. However, odds are you know somebody who's on the fence between involvement and commitment. So here are eight questions to help you define the difference and maybe share to help them better define their goals.

1. Are you excited when you meet a new client? Do you find yourself thinking about the images you're going to capture and create in advance, seeing them through your "mind's eye"?
2. If you're photographing a wedding for example, do you find yourself rushing to download images and watch the way the story unfolds?
3. When you think about the people who you admire most, are many of them other photographers?
4. Do you find yourself sad when leaving a photographic convention or workshop? At the same time are you loaded with energy to apply some of the new things you've learned? Do you stay in touch with people you've met at previous photographic events?
   
5. Do you spend most mornings excited about the day ahead versus wishing you could just stay in bed for the day?
6. Do you feel naked when there's not a camera on your shoulder, in your pocket or in your car?
7. When you look at a stunning image do you find yourself wondering how it was created and then working to find out more?
8. Do you find yourself angry when you see images that were made my photographers who you know simply said to themselves, "That's good enough."

Okay, there it is, my top eight, but there are so many more. Feel free to add to my list via the comment section below and I'll do an extension of this post with your additions.

Most important of all, being committed is about unstoppable passion! There's little else you can see yourself doing.  While it's directed to the topic of relationships, I found a quote that really hits home and being a photographer is about a relationship with your craft.

My good buddy Scott Bourne wrote this post for me several years ago on my first blog. I shared it again, exactly three years ago today.  With PPE kicking off this week it's a great topic and the timing couldn't be better to share this with you.  Whether you're headed to PPE, IUSA in January, WPPI in February, ShutterFest in April or any local or state show, networking is a key reason to attend every possible conference.

by Scott Bourne

Building a strong network is critical to your growth and the success of your business. Unfortunately, over and over again I see so many photographers making the same mistakes at every trade show, convention or workshop. Here are five of the most common ones for you to hopefully take note and stay away from.

1. Be prepared. I mean really prepared. Bring business cards (yes I know it's basic but I admit that once or twice I forgot mine so you might too.) Make sure you're properly groomed. Bugs in your teeth won't win you many friends. Dress appropriately.

2. Don't interrupt. If someone you want to meet  or network with is talking with someone else, you won't make a very good impression if you bulldog your way to the front of the line. Wait your turn.

3. Don't talk too much about yourself. Don't brag. Don't profile. Don't strut. Be humble. I know it's hard to be humble when you're as great as you are, but try. Listen to what other people think. Let them finish their thoughts. Ask follow up questions to show that you are interested and listening.

4. Don't be shy. If you want to network, you can't do it from the back of the room. You have to be willing to put yourself out there. Go for it.

5. Don't monopolize your new friends' time. Networking is simple. You introduce yourself. You listen to what your new friend has to say. You exchange cards. You figure out if there's anything you can do to help your new friend. You make an action plan to follow up with each other and you move on. Everyone at a networking event is looking for a chance to make new contacts. Let them. Take your turn and move along.

Networking can be very valuable. Skip and I have built entire businesses and careers around networking. Get off on the right foot and avoid these mistakes. You'll be better off for it.

Illustration Credit: © ova - Fotolia.com

Intro by Skip Cohen
 
There's been a lot written about pricing for professional photographers, but this post out of the SCU Archives by good buddy Scott Bourne is still one of the best because he hits on more than just the normal pricing considerations for portrait and wedding artists. 

I decided to share it today because it's a new year and if you don't get your pricing right, you'll never make it beyond mac 'n cheese for dinner in 2016!

Last week I got into a discussion with a well-respected photographer at IUSA, and our guess was over 90% of the attendees at the convention won't know if they made money last year until after they've met with their accountants between now and April 15. Even if we're a little high in our estimate, it's a challenge that's so easily changed if you just take the time to analyze ALL of your costs.

So, let's start the year out right and check out Scott's suggestions. There's also a great post by Bryan Caporicci from last year that hits on more ideas as you set your prices for the new year. Bryan even built a "what to charge" calculator on the sproutingphotographer.com website to help you in the process. The link is in his guest post.

You've got to pay attention to ALL of your costs. There are so many of you who forget to consider all the different things you've done to set up your business and then keep it going!

​By Scott Bourne

Pricing photography is the second hardest thing you will ever do as a professional photographer. (Finding the right clients is the first hardest.) It’s very easy to make mistakes when pricing and once they’re made, it’s hard to recover from them. So start out right.

One disclaimer: Not every pricing method works for every photographer. Much depends on the current state of the market and the genre (i.e., wedding, commercial, fine art, food, etc.) I’ll try to stick to some universal ideas in this post.

Start at the Beginning

You can’t effectively price your work until you understand what it is you’re selling.

You are not selling square inches of paper for the cost of printing them. For some reason, the first element that seems to enter some photographers’ minds when making a pricing decision is the size of the print. This “brick wall” has cost many photographers money. The most important thing to keep in mind is the value of your work, not the size of the print. You build this value by evaluating ALL the factors that go into making a salable image.

So what are you selling? How about your creativity and unique ability to capture something others do not see? Anyone can buy a camera, but can they capture the image exactly the way you do? How about the time you have invested in training for the moment when you captured the image? That time needs to be taken into consideration. Your mechanic, doctor, accountant, and lawyer all get paid for the time they spend doing the work. Shouldn’t you be paid too? You also have to consider the level of your present technical ability. The casual amateur should not be able to get the most out of the same equipment as an experienced professional.

And, speaking of equipment, you must also take into consideration the value of your gear. So, as you are deciding how to price your work, make sure you take into account and charge for your logistical skills, experience, time and your ability to translate your client’s desires into a visual statement. Know what you’re selling before you try to sell it. This will help you avoid many mistakes later.

Pricing Economics

In order to price something well, you must know the economics. Here are some key things to keep in mind:

A) Overhead
B) Profit margin
C) The market you are serving

Calculating your overhead requires that you consider all the costs associated with being a professional photographer.  These includes:

A) Equipment depreciation
B) Insurance
C) Rent
D) Licenses
E) Legal fees
F) Accounting fees
G) Payroll fees
H) Salaries
U) Taxes
J) Utilities
K) Production
L) Repairs
M) Printing
N) Postage
O) Office supplies
P) Subscriptions
Q) Professional dues
R) Advertising/marketing
S) Transportation/shipping
T) Travel

Calculating your profit may be a bit easier. You consider your cost of doing business by allowing for a percentage of your overhead to be applied to the cost of each job. From there, mark up your price to include a standard profit margin. This can be based on any number you want but a good starting point is to double the cost of your product (100 percent profit margin).

Selling or Licensing Images

Now you also need to adjust this figure based on the market type you are serving. Is the image being used in a small or large market? Will thousands of people see it or just a few? What is the perceived value to the client? How does the client plan to use your image? Who is your competition and what choices does your client have besides you for this type of image? Are there 50 photographers in the mix or only two or three? Consider these factors to calculate your fee.

When you sell or license an image, it is likely you will have to negotiate the price with a savvy photo buyer. Knowing how to negotiate can save you time, money and help you close profitable deals. Remember that negotiating is just problem solving. Both parties have something they need to accomplish and the negotiation makes it happen.

You must not take ANY of the issues that arise during a negotiation personally. The buyer is supposed to try to get the best deal that he or she can. That’s their job. Your job is the same.

The essential steps in the negotiating process are: establish rapport, gather information, do research, ask questions, and let the buyer do most of the talking. In any negotiation, the person who listens most is likely to gain more. In any negotiation, it’s always very important that you do more listening than talking. Otherwise, you will miss important clues, both physical and verbal, that will help you resolve the deal.

Before quoting a price, you must try to educate the client and build the value of the image you are selling. Make sure that the client understands the effort, time and expense you invested to make this image. If the image is truly one-of-a-kind or was made at personal risk, those factors translate directly into the value of what you have for sale.

Try to encourage the client to place an opening bid. If the buyer is the first one to name a price, I believe you will be rewarded with a higher fee. A good way to open the negotiation process is to ask a question like, “What’s the most you would be willing to pay to use my image or purchase my print?” If you are forced to begin the negotiation process by offering a figure, an alternative is to begin with a number that is twice your standard price plus 10 percent. Once this figure is given, you can work down from there.

But remember that if you give a number first, you run the risk of quoting a price that is much lower than the buyer was willing to pay, and you’ll never know what figure they were willing to pay. So, let your clients do the talking. Then, you should listen, take notes, and preferably wait for them to tell you what they can afford.

If the client has pricing objections, be sure to return to the rapport building and value enhancement stages outlined above. Usually, a price objection really means that there is another piece of information you have not uncovered.  It is likely that there is something else you have not offered that the client really wants or needs. This is why it’s crucial to listen more than you talk and ask plenty of questions to uncover hidden needs.

Once you have taken all the necessary steps, be sure to ask for the order. A surprising number of photographic sales don’t happen simply because the seller has forgotten to ask for the sale.

(NOTE: Negotiating with magazines is not possible unless you are a famous photographer with images that are in great demand. When you approach magazines, understand that you will only get paid their standard rates.)

This is one of those posts where I wish I could always follow my own suggestions. I know I've written about some of this in the past, but a few things happened over this past week that make we want to write about it again.

I recognize that sometimes it's simply tough to do.  Of all the lessons I’ve learned in my career, this is one of the toughest one to stay on course. Here's the scenario:

You've just been shot at in a comment, a post or an email. Whether it was in a public forum or private, makes no difference. You're upset and the initial reaction we all have is to react and fire back. The problem is, our response is too often based on anger rather than logic.

When I’m in the heat of battle over an issue with anybody over anything, passion takes over.  I get caught making statements that are emotional and less than relevant to whatever the issue is.  I’ll read whatever it is I’ve written out loud, then if she’s home, I’ll read it back to my wife. Her comment is always the same, “Don’t bomb!”

That always sends me back to the drawing board to rewrite it, be more specific and stick with the topic, the issues on a factual basis and leave the emotion out. Often, just writing the initial response is enough therapy to just walk away and not bother to even respond. I've also found, when the battle is in a public forum, friends often step in and do a better job in responding than I could ever do.

Here are some points to think about the next time you’re in the heat of battle:

• Whatever you’re writing don’t send it until you’ve slept on it for a night!

• Don’t use boldface or caps to make a point and definitely leave out multiple exclamation points.  Writing a sentence and ending it with a string of exclamation points is the same as flipping somebody the bird!!!!! (see what I mean?)

• Could you get your point across better with a phone call or in person?  Email is a horrible way to communicate over a hot issue and I’ve learned that the hard way.
  

• Share your thoughts with another family member or friend who’s not involved in the skirmish.  They can be objective when you’re not.

• Stay away from battles in public forums. You can’t take it back when you’ve already published it on Facebook, Twitter, Google+ etc.  I used this quote last week, "There are no erasers on the Internet!"
  

Last but not least – don’t sweat the small stuff, because most of the time it’s ALL small stuff.

Wishing everybody a wonderful weekend. As always, take the time to hug somebody special in your life.

This morning, working together with Sprouting Photographer, we're launching a new concept in podcast education called Weekend Wisdom. In each episode we're going to drill down on just one topic with an expert from our industry - no sidebar discussions, just a focus on one single helpful topic in marketing, business and special projects.

In this first episode the topic is self-publishing with Don Komarechka. Every photographer has a dream to some day publish their own book and today, because of technology, everybody has access to the right tools. But, as Don points out, there's a lot that goes into the planning, editing, production and finally, delivery.

Don did an amazing job self-publishing his book, Sky Crystals - Unraveling the Mysteries of Snowflakes. Don couldn't be more frank about the challenges he faced along the two year journey from concept to the shipment of the first book last December.
 
A big thanks to SproutingPhotographer.com for a concept in education to help you keep raising the bar on not only your business, but the reality of your dreams.  Just click on the banner below and you'll have access to not only the podcast, but links to Don's site, notes from this show itself and all of Sprouting Photographers' outstanding content.

 "Know your competition, but don't copy it."
Guy Kawasaki

That quote from Guy got me thinking about the way I see so many of you competing. While I've written about the topic several times, it seems, just like in lighting, there are multiple ways to talk about the same subject. Then, I went looking for an image to tie in with this post to make the point and the five photographers above just cracked me up...especially the woman holding the 4x5...LOL. However, it makes the point about the way some of you chase the business, trying to be everywhere your competitors are, instead of working to better define your own space.
 
So many photographers fail to take the time to really get to know their competition, especially when they first get started.  For example, if you were opening a new studio, wouldn’t you want to know how many other photographers there were in the area?  Wouldn’t it be important to know what they sell, so that you could position your own skill set and products in the strongest possible way?

You need to know what your competitors do best and where their weak spots are, giving you the ability to reinforce your own skill set, products and services.  And, when you market yourself stay away from negative selling – all you need to do is focus on your strengths, which you’re already hopefully working to make stronger than your competition.

To take it one step further, it’s important to know your competitors, because at some point you’re going to be fully booked and you’ll have to turn down a possible client.  By knowing your competitors and identifying those photographers whose quality and integrity you hold in high regard, you now have an interesting ally, as well as a competitor.  Instead of saying, “Sorry, I’m booked” you can say, “Sorry I’m booked, but I have an associate whose work you’ll love who might be available!”

Don’t be afraid to refer a client to another photographer. Cross-promoting each other is a terrific way to build your business.  In fact, don’t be afraid to share the cost of marketing with another photographer.  Working together you can provide twice the stimulus to your market at half the cost.

I love this quote from Jay Leno a few years back:

"Bill Maher and I are on against each other, and we're friends. He can do my show any time he wants, and I've done Politically Incorrect several times. There's no reason to think competition has to be adversarial."

One of the things I love about this industry and social media is the fact that everything is always changing.  As a result we have access to some pretty amazing people who appear in our social media circles.

On Trolls: While I realize it's almost impossible to really fix the problem, my post about Trolls at least made me feel better. It brought out a lot of comments and if nothing else, maybe we got a few people to think it through a little better. In the GoingPro Forum on Facebook, Adam Messer posted the most eloquent comment I've ever read on the topic...

"I feel the best way to kill a troll is to not feed them. A troll's mentality is to bait someone and then try to barrage them with insults, typically using a various assortment of logical fallacies. Insults and sarcasm are some of the weakest and inflammatory types of communication people learn at an early age. Unfortunately, this type of behavior stems from a lack of maturity, jealousy, and low-self esteem issues. I have noticed that some trolls exhibit a sociopath-like attitude, trying to prove intellectual prowess over an unsuspecting victim. It is easy to destroy, but only true creators ever build. Trolls build houses on sand, only to be swept away by the tide of influence."

On Marketing: Michele Celentano was our guest on Mind Your Own Business and did an amazing job of getting us all to think about the value of what we do. Out of this conversation came what might be one of the best marketing ideas yet to help you establish more value for your work with clients who only want the files...Just frame a CD or jump drive! While I'd love to take credit for the idea, it's 100% Michele's - I just executed it.
 

Guest Posts: In just the last week two outstanding photographers have shared images giving some of you a lot to think about when it comes to beefing up your skill set. Brian Marcus' images show outstanding skills, although a few of you questioned a baby portrait in the mix of wedding images. That was entirely my doing because first, I loved the shot and second, it made a point about diversity, but I should have explained it better.

Here's the point: If you did a great job on the wedding, then why wouldn't you want to be there when the first child was born? Why wouldn't you keep building the relationship with the family to cover all of their photographic needs?


Vanessa Joy's images featuring 19 groomsmen is the perfect reminder for every wedding photographer to practice group posing as much as possible. Vanessa never said it wasn't stressful - but she knew what she had to do and taking us through the process should give a few of you a more ideas on how to build out your groups in the future.

A Reminder: If there's a specific topic you need more help with, the SCU archives are loaded with a wide variety, but that doesn't mean we've covered everything you'd like to read. Give me a shout in the comment box or email me at skip@mei500.com with your wishlist. I'll do my best to get you a post with the information you need. Consider it the SCU version of the old Burger King commercial...We're doing our best to help you "Have it your way!"

I have a subscription to a magazine called Bottom Line. Reading it the other night there was an article for small business owners by Dan Sullivan of StrategicCoach.com.  He had a terrific list of ideas to help grow your business. One that hit home, after talking with so many of you over the years, was under the subtitle of "Manager Your Calendar Like An Entertainer".

He broke it out with the need to schedule your days into one of three categories...

Free Days: Days that are totally free...zero business on these days. No email, business calls and no guilt. As he wrote:

                                      "You're not slaking off - you're giving your mind the downtime it requires."

Preparation Days: He called them "Buffer Days" and they were for meetings, organizing various projects and essentially the behind the scenes stuff you need to run a business.

Focus Days: These are the days that are all about performance and focus exclusively on what makes money! All distractions are put aside - no interruptions, just concentration on things you need to do to earn a living.

A few of you are already rolling eyes thinking this is just too simplistic, but the more I think about it, the more I love the concept. In trying to write yesterday's post, I took three phone calls, answered a couple of emails and had at least two IM conversations with photographers on Facebook.  We all pride ourselves on multitasking, but we really are becoming masters of mediocrity!  So, the concept of dedicating yourself to a schedule, but still allowing ample time to slow down now and relax makes so much sense.

It's a great topic to think about over this long weekend! I'll let you know how it's working out as soon as I'm finished with some scheduled  "almost" free days over this holiday weekend!

The other day I wrote a post about pricing, one of the biggest challenges for new and seasoned photographers alike. No matter what your pricing strategy, you still have to close the sale. It's a difficult process for so many artists.

What good is working so hard to create the greatest images of your career if you can't close the sale?  "No Sale" is just about the worst news a photographer wants to hear when working to do just the opposite.

In the three videos below, Sal Cincotta, Lori Nordstrom and Taylor Cincotta all hit on various aspects of selling. In all honesty, it's not rocket science, but so many photographers lack the confidence when it comes to making sure the consumer understands the value of what they're purchasing.

"Price is what you pay...Value is what you get!"
Warren Buffet

One of the biggest challenges for photographers, which I see over and over again, is the artist's failure to establish value. There's no such thing as just a picture, because if you've done your job, a picture is a frozen moment in time, a memory and great pictures really are worth a thousand words. Even a wedding album isn't a book of images, but the first family heirloom of a brand new family!

Sal's program is part of Creative Live's educational series, while Lori Nordstrom's and Taylor Cincotta's are part of Shutter Magazine. Both Creative Live and Shutter Magazine need to be on your radar and under each video you've got access to both.

Click for access to the Sal Cincotta's full Creative Live program.

Click to sign up for your FREE Subscription to Shutter Magazine

Click to sign up for your FREE Subscription to Shutter Magazine

Normally you'd expect the challenge with pricing to be the biggest issue with photographers who are just starting out. Unfortunately, it comes up with almost as many seasoned veterans when they're about to do something new or thinking about raising their prices.

The idea to do a post on the topic is all thanks to a few new members of the GoingPro group. The question on pricing repeatedly comes up, so it's a great time to keep everybody focused on a topic so seriously related to revenue/income. It's even more important when you consider we're heading into the seasonality of the fourth quarter and opportunities to better support your profitability.

It starts with the very first easy to understand challenge - consideration for everything it took for you to become a professional photographer.  It kills me when I hear new photographers excited, because they can get an 8x10 from their lab that's relatively inexpensive. Then they get excited about what they think is a big profit margin, putting it out there at $24.95!  Sadly here's a sampling of everything they forgot to include in the cost of that print:

And last on the list, let's not forget about the value of your time. I remember years ago Bambi Cantrell talking about the value of her time to give up her weekend with her family to photograph a wedding. All of you pay a serious price for your passion to be an artist, especially when it comes to being a wedding photographer.

I don't want to spend a lot more time talking about pricing when there are three terrific resources out there already. Just click on any one of the three banners below and you've got access to Bryan Caporicci's guest post a few months ago, Sal Cincotta's video on pricing, and David Ziser's explanation from his blog, Digital Pro Talk.

I know I've written about this before, but in virtually every aspect of your business as an artist the key is consistency.

Let's look at social media...There are thousands of you who have blogs today and even more of you on Facebook and Twitter. If it’s just a hobby you can stop reading now. However, if it’s part of your livelihood and meant to be one of your marketing tools, if you’re not consistent then you’re wasting your time!

You need to post at least twice a week and ideally 3-5 times is even better. Having a blog and only posting when there's a full moon serves absolutely no purpose, except to get people wondering if you're really in business. You’ve also got to Tweet several times a day for people to know who you are.

You won’t build brand recognition putting up a post here and there. Building traffic is about consistency and you’ve got to be out there all the time.  I'm always surprised at the number of blogs I read that just aren't kept up to date and many of them by some of the best photographers in our industry.

Facebook is the same. You’ve got to be involved to build traffic. You’ve got to be making a contribution for people to remember you’re out there.

Post and tweet regularly or just step away from social media until you can put in a little dedicated time. It can be an incredible marketing tool for your business, but you'll only get out of it what you put in.  Remember, even with consistency, quantity doesn't trump quality - you've still got to stay focused on topics your target audience wants to hear about.

Consistency is such an important part of being a professional photographer. Just remember it extends to everything you do, including your quality, great customer service and in this case maintaining a presence.  Make it a point to "hit" the social media button in your day, first thing every morning. Try and develop a routine for both contributing to your own pages and reading other posts from people you enjoy. Pretty soon it'll be second nature.